DOCSLIB.ORG

RESPONSES to BYRON in the WORKS of THREE NINETEENTH-CENTURY NOVELISTS: Carol Anne White a Thesis Submitted in Conformity with Th

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
RESPONSES to BYRON in the WORKS of THREE NINETEENTH-CENTURY NOVELISTS: Carol Anne White a Thesis Submitted in Conformity with Th RESPONSES TO BYRON IN THE WORKS OF THREE NINETEENTH-CENTURY NOVELISTS: Carol Anne White A thesis submitted in conformity with the requirements for the degree of Doctor of Philosphy Graduate Department of English University of Toronto @copyright by Carol White, 1997 National tibrary Bibliothèque nationale du Canada Acquisitions and Acquisitions et Bibliographic Services services bibliographiques 395 Wellington Street 395. rue Wellington Ottawa ON KIA ON4 Ottawa ON K1A ON4 canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant a la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microfonn, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fkom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Abetract Responsee to Byron in the Works of Three Nineteenth-Century Novelists: Edward Bulwer, Charles Dickens and Charlotte Brontë Ph-D., 1997 Carol Anne White Graduate Department of English, University of Toronto Andrew Elfenbein's Byron and the Victorians(l995) is a full-length account of Victorian response to Byron and Byronism. This thesis builds upon his work by examining how three nineteenth-century novelists, Edward Bulwer, Charles Dickens and Charlotte Brontë, responded to Byron in their fiction. Edward Bulwer's late Regency Bildunssroman, Pelham, The Adventures of a Gentleman (1828) is an example of Byron's pre-Victorian reception which shows how one Regency novelist inscribed Byronic figures in his fiction. Pelham also dramatizes the problematic conflict between male infatuation with Byronic figures and the Bilduncrsroman impulse. Charles Dickens responded to Byron and Byronism more than two decades later in his Victorian Bildunssroman, David Co~perfield (1849/50). Like the later Bulwer, who was critical of Byronism in Ernest Maltravers(l837) and its sequel, Alice(1838), Dickens showed an ironlc, sometimes satirical detachmeni from Byronism. David Copperfield, however, also reveals Dickens' sense of the disempowering paralysis caused by a lingering nostalgic attachent to Byronic figures. Charlotte Brontë responded much more directly to Byron than her male i contemporaries. Writing satire, not romance, she extensively re-worked Byron's The Corsair in Shirley(1849), treating her Byronic "hero" with a cold detachment that was characteristic of other women novelists such as Mary Shelley and George Eliot. Shirley, with its Monday morning realism, is at once a Childe Harold-like lament and a Thackerayean satire on an age in which heroism seemed impossible. I would like to thank the University of Toronto for providing me with an Open Fellowship for three years. 1 would also like to express my sincere and deep thanks to my supervisor, Prof. F.T. Flahiff, who has been a kind and nurturing mentor, guiding my work for many years, sharing his insights, reading and re-reading my thesis, and spending far more time thinking about Bulwer Lytton than he or 1 ever intended. A special thank you to Tony Burgess, who increased my wariness of Louis Moore. Finally, 1 would like to thank my husband, Paul, who believed in me. For Mum and Dad, who have always shared with me their love of books. iii TABLE OF CONTENTS Introduction. Chapter One Part One Echoes and Allusions ............... 5 Part Two "The Sentimental Measles": Edward Bulwer and Pelham ........ ............. 33 Chapter Two "An Aching Heart": Charles Dickens and Copperfield ................... 87 Chapter Three Charlotte Brontë's Shirley: The Corsair Seen in the Sober Dam. ....................152 Conclusion ...................... .224 Works Cited ......................231 Introduction This thesis was conceived of before the publication of Andrew Elfenbein's Byron and the Victorians(l995). a full-length account of Victorian response to Byron and Byronism. Like Elfenbein's work, it examines çeveral nineteenth-century authors, it argues for the deeply persona1 nature of their responses, and it emphasizes the importance of literary mediation between Byron and his readers. Unlike Elfenbein's work, however, it is not intended to be a general study of the Victorian response to Byron. Nor does it attempt to provide a chronological survey of Byron's reptation in the nineteenth century. Rather, it extends Elfenbein's work by suggesting that certain nineteenth-century novelists, like Byron's periodical reviewers, were important mediators of Byronism.' Edward Bulwer, for instance, inscribed Byronic figures in his fiction, providing fictional Byronic models for later novelists to imitate and interpret. This thesis also explores Elfenbein's suggestion that male infatuation with Byron was as important as the more infamous female infatuation.' And it supports his claim that the stereotype of women's infatuation with Byronic heroes was just that, a stereotype. Lastly, this thesis challenges conventional forma1 boundaries between poetic and prose narrative. Byron was a poet who influenced novelists. Such as Charles Dickens and Charlotte Brontë were sensitlve to Byron's poetry and incorporated Byronic 2 images and tropes into their fiction.' The first chapter of this thesis considers specific aspects of Byron's early reception that influenced Victorian novelists, particularly Byron's perceived fraudulence and "mobilité." Since critical discussions of such Byronic figures as Brontë's Rochester have often used the term loosely, this study will also address the problem of the term "Byronic." It considers how the term "Byronic" was used by Byron's contemporaries and by later Victorian writers, and it examines the problernatic nature of twentieth-century usage of the term. Part Two of this chapter turns to Edward Bulwer and his extremely popular Pelham, The Adventures of a Gentleman(1828) as an example of Byron's pre- Victorian reception. Bulwer himself described his gothic hero, Reginald Glanville, as Byronic, an identification which gives historical veracity to the thesis' consideration of later Victorian novels whose Byronism is more subtlely introduced. Chapter Two opens with a discussion of T.8. Macaulay and Thomas Carlyle, Victorian male authors who turned away from Byron and Byronism in the 1830's. Their reactions provide a context for the chapter's central consideration of Charles Dickens. Chapter Two also introduces Bulwer's Ernest Maltravers(1837) and its sequel, Alice(1838), Bildunssromane that likely influenced Dickens' treatment of the Byronic in his mid-Victorian Bildunqsroman David Co~perfield(1849-50). Although Bulwer and Dickens show an ironic, sometimes satirical detachment from Byronism, their Bildunssromane show even more dramatically their sense of the disempowering paralysis caused by a lingering, nostalgie attachment to Byronic figures. Chapter Three considers a female response to Byron and Byronism that challenges the stereotype of women's uncritical infatuation with the poet. One of the Brontë sisters was an obvious first choice for such a study, and since Jane Eyre and Wutherinq Heiqhts have been so often discussed, it turns to Charlotte Brontë's Shirley(1849), a realistic Victorian social novel that reads like a satire on Byronism, a cool Monday morning reassessment of Byronic figures. Brontë's methodology is entirely different from Bulwer's and Dickens'. Where they incorporate aspects of Byronism within their romantic fiction, she reworks and plays off The Corsair, finding in Byron's poetry the Law material to express her own artistic vision. Brontë's treatment of The Corsair provides a clue to her attitude. No longer under the conventional, romantic spell of Byronism, she reassesses, scrutinizes and disempowers her hero, even making him the object of comedy and farce. She also adopts a Thackerayan-Don Juanish sceptical voice, and expresses her own Childe Harold-like disillusionment with heros and heroism. Chapter Three employs a different methodology than the previous chapter on Dickens, providing a detailed reading of Shirlev as a reworking of The Corsair. Such elaboration is crucial because of the extent and importance of Byron's poem in the novel, and because the Byronism in Shirley has not been discussed. Endnotes l Elfenbein's account of Byron's Victorian response is underpinned by the work of French sociologist Pierre Bourdieu, particularly his The Field of Cultural Production(l993). His focus is on how institutions of cultural production (particularly the periodical press) mediated access to Byron. Victorian authors, he suggests, defined themselves against what they saw Byron as representing, responding particularly to Byron's representation of subjectivity. This thesis expands the concept of cultural mediation by showing the intertextual connection between Bulwer's novels and Dickens' David Copperfield. Elfenbein considers several Victorian writers(Bulwer, Disraeli, Wilde) who were "attracted to the homoerotic aspect of Byron's personality, as they understood itW(70). He expresses his suspicion that "male attraction to Byron was more widespread than surviving evidence
Load more

Recommended publications
  • Kierkegaard and Byron: Disability, Irony, and the Undead
    University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 2015 Kierkegaard And Byron: Disability, Irony, And The Undead Troy Wellington Smith University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/etd Part of the Comparative Literature Commons Recommended Citation Smith, Troy Wellington, "Kierkegaard And Byron: Disability, Irony, And The Undead" (2015). Electronic Theses and Dissertations. 540. https://egrove.olemiss.edu/etd/540 This Thesis is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. KIERKEGAARD AND BYRON: DISABILITY, IRONY, AND THE UNDEAD A Thesis presented in partial fulfillment of requirements for the degree of Master of Arts in the Department of English The University of Mississippi by TROY WELLINGTON SMITH May 2015 Copyright © 2015 by Troy Wellington Smith ALL RIGHTS RESERVED ABSTRACT After enumerating the implicit and explicit references to Lord Byron in the corpus of Søren Kierkegaard, chapter 1, “Kierkegaard and Byron,” provides a historical backdrop by surveying the influence of Byron and Byronism on the literary circles of Golden Age Copenhagen. Chapter 2, “Disability,” theorizes that Kierkegaard later spurned Byron as a hedonistic “cripple” because of the metonymy between him and his (i.e., Kierkegaard’s) enemy Peder Ludvig Møller. Møller was an editor at The Corsair, the disreputable satirical newspaper that mocked Kierkegaard’s disability in a series of caricatures. As a poet, critic, and eroticist, Møller was eminently Byronic, and both he and Byron had served as models for the titular character of Kierkegaard’s “The Seducer’s Diary.” Chapter 3, “Irony,” claims that Kierkegaard felt a Bloomian anxiety of Byron’s influence.
    [Show full text]
  • Byronic Heroism Byronic Heroism Refers to a Radical and Revolutionary
    Byronic Heroism Byronic heroism refers to a radical and revolutionary brand of heroics explored throughout a number of later English Romantic and Victorian works of literature, particularly in the epic narrative poems of the English Romantic poet Lord Byron, including Manfred, Don Juan, Childe Harold’s Pilgrimage, the Giaour, and The Corsair. The figure of the Byronic hero was among the most potent and popular character archetypes developed during the late English Romantic period. While traditional literary heroes are usually marked by their valor, intrinsic goodness, commitment to righteous political and social causes, honesty, courage, propriety, and utter selflessness, Byronic heroes are defined by rather different character traits, many of which are partially or even entirely opposed to standard definitions of heroism. Unlike most traditional heroic figures, Byronic heroes are often deeply psychologically tortured and reluctant to identify themselves, in any sense, as heroic. Byronic heroes tend to exhibit many of the following personality traits: cynicism, arrogance, absolute disrespect for authority, psychological depth, emotional moodiness, past trauma, intelligence, nihilism, dark humor, self-destructive impulses, mysteriousness, sexual attractiveness, world- weariness, hyper-sensitivity, social and intellectual sophistication, and a sense of being exiled or outcast both physically and emotionally from the larger social world. Byronic heroes can be understood as being rather akin, then, to anti-heroes (unlike Byronic heroes, though, anti-heroes tend to be rather reluctant or helpless heroes). Byronic heroes are often committed not to action on behalf of typically noble causes of “good,” but, instead, to the cause of their own self-interest, or to combatting prevailing and oppressive social and political establishments, or to particular problems or injustices in which they take a particular and often personal interest.
    [Show full text]
  • Turkish Tales” – the Siege of Corinth and Parisina – Were Still to Come
    1 THE CORSAIR and LARA These two poems may make a pair: Byron’s note to that effect, at the start of Lara, leaves the question to the reader. I have put them together to test the thesis. Quite apart from the discrepancy between the heroine’s hair-colour (first pointed out by E.H.Coleridge) it seems to me that the protagonists are different men, and that to see the later poem as a sequel to and political development of the earlier, is not of much use in understanding either. Lara is a man of uncontrollable violence, unlike Conrad, whose propensity towards gentlemanly self-government is one of two qualities (the other being his military incompetence) which militates against the convincing depiction of his buccaneer’s calling. Conrad, offered rescue by Gulnare, almost turns it down – and is horrified when Gulnare murders Seyd with a view to easing his escape. On the other hand, Lara, astride the fallen Otho (Lara, 723-31) would happily finish him off. Henry James has a dialogue in which it is imagined what George Eliot’s Daniel Deronda would do, once he got to the Holy Land.1 The conclusion is that he’d drink lots of tea. I’m working at an alternative ending to Götterdämmerung, in which Brunnhilde accompanies Siegfried on his Rheinfahrt, sees through Gunther and Gutrune at once, poisons Hagen, and gets bored with Siegfried, who goes off to be a forest warden while she settles down in bed with Loge, because he’s clever and amusing.2 By the same token, I think that Gulnare would become irritated with Conrad, whose passivity and lack of masculinity she’d find trying.
    [Show full text]
  • “The Blazing Muse” Hysteria and the Politics of Popularity
    \ 1 | “The Blazing Muse” Hysteria and the Politics of Popularity Over the past century, two very different representations of Byron have dominated literary criticism and the popular imagination: Byron, the self-styled Gothic hero of Byromania, and the more “mature” Byron of political satire and Don Juan. Both Byrons have been well represented in literature, fi lm, and criticism, but over the years the difference between them has been marked by a line drawn in the sand of Romantic studies, instigated in part by the infl uential commentaries of M. H. Abrams, Leslie Marchand, and, most notoriously, T. S. Eliot.1 This cultural divi- sion of the Byron corpus, however, has a powerful antecedent among Byron’s own contemporaries, and twentieth–century critics are arguably simply following the lead of their predecessors when they differentiate the “legitimate” poet from his status as popular icon. As Andrew Elfen- bein points out, nineteenth-century critics were quick to recognize the cultural “one-upmanship” to be had from creating a division between the “lowbrow” reader of the fantasy romances and the more astute readers of Byron’s “true” character: Particularly for presumptive members of Britain’s social or artistic elite, Byron was signifi cant less because of his sexual attractiveness than because his career allowed them to distinguish themselves from the reactions of “ordinary” readers. Such elite readers were attracted to Byron as a means by which to demonstrate the fi tness of their cultural judgments by criticizing him in a uniquely “personal” way.2 Elfenbein goes on to note, this “critical distance from Byromania is familiar to students of Romanticism” precisely because so many of Byron’s contemporaries were very vocal about their distaste for, in 29 ©2009 State University of New York Press, Albany 30 byromania and the birth of celebrity culture Keats’s terms, the “figure he cut” in literary society.
    [Show full text]
  • GEORGE GORDON, LORD BYRON: a Literary-Biographical-Critical
    1 GEORGE GORDON, LORD BYRON: A literary-biographical-critical database 2: by year CODE: From National Library in Taiwan UDD: unpublished doctoral dissertation Books and Articles Referring to Byron, by year 1813-1824: Anon. A Sermon on the Death of Byron, by a Layman —— Lines on the departure of a great poet from this country, 1816 —— An Address to the Rt. Hon. Lord Byron, with an opinion on some of his writings, 1817 —— The radical triumvirate, or, infidel Paine, Lord Byron, and Surgeon Lawrenge … A Letter to John Bull, from a Oxonian resident in London, 1820 —— A letter to the Rt. Hon. Lord Byron, protesting against the immolation of Gray, Cowper and Campbell, at the shrine of Pope, The Pamphleteer Vol 8, 1821 —— Lord Byron’s Plagiarisms, Gentleman’s Magazine, April 1821; Lord Byron Defended from a Charge of Plagiarism, ibid —— Plagiarisms of Lord Byron Detected, Monthly Magazine, August 1821, September 1821 —— A letter of expostulation to Lord Byron, on his present pursuits; with animadversions on his writings and absence from his country in the hour of danger, 1822 —— Uriel, a poetical address to Lord Byron, written on the continent, 1822 —— Lord Byron’s Residence in Greece, Westminster Review July 1824 —— Full Particulars of the much lamented Death of Lord Byron, with a Sketch of his Life, Character and Manners, London 1824 —— Robert Burns and Lord Byron, London Magazine X, August 1824 —— A sermon on the death of Lord Byron, by a Layman, 1824 Barker, Miss. Lines addressed to a noble lord; – his Lordship will know why, – by one of the small fry of the Lakes 1815 Belloc, Louise Swanton.
    [Show full text]
  • Director of Thesis Date Bfi a R E 9 7 9
    Byron's religious views with special reference to the Hebrew melodies Item Type text; Thesis-Reproduction (electronic) Authors Taylor, Wayne Windsor, 1913- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 07/10/2021 11:38:27 Link to Item http://hdl.handle.net/10150/553618 Byron's Religious Views with Special Reference to the Hebrew elodiea ty Tayne W« Taylor A Thesis submitted to the faculty of the Department of English in partial fulfillment of the requirements for the degree of Master of Arts in the Graduate College University of Arizona 1942 Approved: lcM 2_ Director of Thesis Date Bfi A R E 9 7 9 / 3*! Z- To Dr* Melvin T* Solve whose original suggestion and subsequent advice made this study possible TABLE OF CONTENTS Chapter Pager- I. IntrodMtlon • . ......... ... 1 II. The . » . • 4 III. The Sources . • . * . * . 9 IV. The Hebrew Element . * . • • . • .... • * ... 54 V. The Christian Element • • • .... ... * 44 VI. The Calvinistic Element • . > . 50 VII. Cenelusion . * * . * * . • . 61 Bibliography . .... » , ... ... * , ' _ 66 \ 1 Chapter I Introduction The Hebrew Melodieo form part of the key which opens the door to Byron’s religious,beliefs. Most of these songs were Inspired by Byron’s reading and deep appreciation of the Bible. The purpose here is to point out what sections of the Bible were used as subject material for the Melodies and to indicate the great influence of Biblical teachings on Byron’s life and religious opinions.
    [Show full text]
  • The World's Best Poetry, Volume IX: of Tragedy: of Humour
    Title: The World's Best Poetry, Volume IX: Of Tragedy: of Humour Author: Various Contributor: Francis Barton Gummere Editor: Bliss Carman Release Date: July 15, 2013 [EBook #43223] Language: English _THE WORLD'S_ _BEST POETRY_ _I Home: Friendship_ _VI Fancy: Sentiment_ _II Love_ _VII Descriptive: Narrative_ _III Sorrow and Consolation_ _VIII National Spirit_ _IV The Higher Life_ _IX Tragedy: Humor_ _V Nature_ _X Poetical Quotations_ _THE WORLD'S BEST POETRY_ _IN TEN VOLUMES, ILLUSTRATED_ _Editor-in-Chief BLISS CARMAN_ _Associate Editors_ _John Vance Cheney Charles G. D. Roberts_ _Charles F. Richardson Francis H. Stoddard_ _Managing Editor: John R. Howard_ [Illustration] _JOHN D. MORRIS AND COMPANY PHILADELPHIA_ COPYRIGHT, 1904, BY JOHN D. MORRIS & COMPANY [Illustration: JOHANN WOLFGANG VON GOETHE. _Photogravure after portrait by Stieler._] _The World's Best Poetry_ _Vol. IX_ _Of TRAGEDY:_ _of HUMOR_ _THE OLD CASE OF_ _POETRY_ _IN A NEW COURT_ _By_ _FRANCIS A. GUMMERE_ [Illustration] _JOHN D. MORRIS AND COMPANY_ _PHILADELPHIA_ COPYRIGHT, 1904, BY John D. Morris & Company NOTICE OF COPYRIGHTS. I. American poems in this volume within the legal protection of copyright are used by the courteous permission of the owners,--either the publishers named in the following list or the authors or their representatives in the subsequent one,--who reserve all their rights. So far as practicable, permission has been secured, also for poems out of copyright. PUBLISHERS OF THE WORLD'S BEST POETRY. 1904. The BOBBS-MERRILL COMPANY, Indianapolis.--F. L. STANTON: "Plantation Ditty." The CENTURY CO., New York.--_I. Russell_: "De Fust Banjo," "Nebuchadnezzar." Messrs. HARPER & BROTHERS, New York.--_W. A.
    [Show full text]
  • As Victor Brombert, in the Romantic Prison
    A PRISON ON EACH HAND: PRISON SCENES AND PARADOX IN BYRON’S POETRY ALICE LEVINE “Romanticism . has endowed the prison symbol with unusual prestige,” as Victor Brombert, in The Romantic Prison: The French Tradition, observed: The motif of the gloomy prison became insistent toward the end of the eighteenth century, in large part for political and ideological reasons . The symbolic value attributed to the Bastille and other state prisons viewed as tyrannical constructs . the setting of Gothic novels in dungeons [and] vaults . can tell us a great deal about the structures of the Romantic imagination, and the favored dialectical tensions between oppression and the dream of freedom, between fate and revolt, between the awareness of the finite and the longing for infinity. (3-4) The subject of my paper is Byron’s variations on the theme and conventions of the Romantic prison. Given Byron’s preoccupation with freedom, we are not surprised to observe the alacrity with which he accessed the vocabulary of imprisonment–for an image, a metaphor, a symbol, or a scene: “ . chaining / Hearts . / Beat ’gainst their prison: (“Stanzas [‘Could Love for ever’]”, 81-83); the exile “has the whole world for a dungeon strong” (The Prophecy of Dante, 4.131-32); “delicate waters sleep, / Prison’d in marble” (Childe Harold, 4.1042). Just as in these figurative prisons, paradox is pervasive in the aesthetics of Byron’s prison scenes. Identifying these paradoxes provides a way of understanding the relation of Byron’s prison writing both to a political purpose and to a metaphysics that perhaps overwhelms the political focus.
    [Show full text]
  • Kindle « the Two Foscari: an Historical Tragedy > Download
    The Two Foscari: An Historical Tragedy eBook VLU4AKE7VK The Two Foscari: An Historical Tragedy By Lord Byron Createspace, United States, 2015. Paperback. Book Condition: New. 229 x 152 mm. Language: English . Brand New Book ***** Print on Demand *****.The Two Foscari: An Historical Tragedy (1821) is a verse play in five acts by Lord Byron. The plot, set in Venice in the mid 15th century, is loosely based on the true story of the downfall of doge Francesco Foscari and his son Jacopo. Byron s play formed the basis of Verdi s opera I due Foscari. Jacopo Foscari, son of the Doge of Venice, has twice been exiled, once for corruption and once for complicity in the murder of Donato, a member of the Council of Ten. He has been recalled from his second exile to answer the capital charge of treason, and as the play opens he is between sessions of interrogation on the rack. The Council decide to sentence him to a third exile, this time perpetual, rather than to death. His father Doge Francesco Foscari signs the sentence of exile, though his spirit is broken by this new disgrace. Jacopo s patriotic spirit cannot brook such a sentence, he longs to die, and he duly does die of a broken heart. The Council... READ ONLINE [ 3.56 MB ] Reviews Completely essential read book. It is one of the most remarkable publication i have got study. Once you begin to read the book, it is extremely difficult to leave it before concluding. -- Santina Bogan This pdf is great. I am quite late in start reading this one, but better then never.
    [Show full text]
  • Carte Italiane
    UCLA Carte Italiane Title Alfieri and Byron Permalink https://escholarship.org/uc/item/8rj7b118 Journal Carte Italiane, 1(16) ISSN 0737-9412 Author Englemann, Diana Publication Date 1999 DOI 10.5070/C9116011312 Peer reviewed eScholarship.org Powered by the California Digital Library University of California CARTE ITALIANE 31 Alfieri and Byron In Santa Croce 's holy precincts He Ashes which make it holier, dust which is Even in itself an immortality, Though there were nothing save the past, and this, The particle of those sublimities Which have relapsed to chaos: here repose Angelo 's. Alfieri 's bones, and his, The starry Galileo, with his woes; Here Macchiavelli's earth retum'd to whence it rose. (Childe Harold, Canto IV) Oh qual silenzio! ... Infi^a i rimorsi adunque, fra le torbide cure, e i rei sospetti placido scende ad ingombrar le ciglia de' traditori e de' tiranni il sonno? Quel, che ognor sfugge l'innocente oppresso? Ma, duro a me non e il vegliare: io stommi co' miei pensieri, e colla immagin cara d'ogni beltà, d'ogni virtù... (Philippo, IV. \) 32 CARTE ITALIANE And I would rather fall by freemen's hands Then live another day to act the tyrant As delegate of tyrants; such I am not, And never bave been... (Marino Fallerò, Ill.ii) Lord Byron's high regard for Vittorio Alfieri has been well known to his biographers and critics, yet only a few sUidies estab- lished a little more than the obvious connections between Alfieri 's tragedies and Byron's historical dramas. The two writers shared a deep sense of patriotism and an abiding hatred of tyranny, two subjects which are inseparable in their works.
    [Show full text]
  • ABSTRACT Genius, Heredity, and Family Dynamics. Samuel Taylor Coleridge and His Children: a Literary Biography Yolanda J. Gonz
    ABSTRACT Genius, Heredity, and Family Dynamics. Samuel Taylor Coleridge and his Children: A Literary Biography Yolanda J. Gonzalez, Ph.D. Chairperson: Stephen Prickett, Ph.D. The children of Samuel Taylor Coleridge, Hartley, Derwent, and Sara, have received limited scholarly attention, though all were important nineteenth century figures. Lack of scholarly attention on them can be blamed on their father, who has so overshadowed his children that their value has been relegated to what they can reveal about him, the literary genius. Scholars who have studied the children for these purposes all assume familial ties justify their basic premise, that Coleridge can be understood by examining the children he raised. But in this case, the assumption is false; Coleridge had little interaction with his children overall, and the task of raising them was left to their mother, Sara, her sister Edith, and Edith’s husband, Robert Southey. While studies of S. T. C.’s children that seek to provide information about him are fruitless, more productive scholarly work can be done examining the lives and contributions of Hartley, Derwent, and Sara to their age. This dissertation is a starting point for reinvestigating Coleridge’s children and analyzes their life and work. Taken out from under the shadow of Samuel Taylor Coleridge, we find that Hartley was not doomed to be a “child of romanticism” as a result of his father’s experimental approach to his education; rather, he chose this persona for himself. Conversely, Derwent is the black sheep of the family and consciously chooses not to undertake the family profession, writing poetry.
    [Show full text]
  • I DUE FOSCARI Musica Di GIUSEPPE VERDI
    I DUE FOSCARI Musica di GIUSEPPE VERDI FESTIVAL VERDI 2019 2019 FONDAZIONE Socio fondatore Comune di Parma Soci benemeriti Fondazione Cariparma Fondazione Monte di Parma Presidente Sindaco di Parma Federico Pizzarotti Membri del Consiglio di Amministrazione Ilaria Dallatana Vittorio Gallese Antonio Giovati Alberto Nodolini Direttore generale Anna Maria Meo Direttore musicale del Festival Verdi Roberto Abbado Direttore scientifico del Festival Verdi Francesco Izzo Curatrice Verdi Off Barbara Minghetti Presidente del Collegio dei Revisori Giuseppe Ferrazza Revisori Marco Pedretti Angelica Tanzi Il Festival Verdi è realizzato grazie al contributo di Major partner Main partners Media partner Main sponsor Sponsor Advisor Con il supporto di Con il contributo di Con il contributo di Partner istituzionali Partner artistici Partner istituzionali Partner artistici Festival Verdi è partner di Festival Verdi ha ottenuto il Festival Verdi è partner di Festival Verdi ha ottenuto il Con il contributo di Sostenitori Partner istituzionali Partner artistici Tour operator Radio ufficiale Sostenitori tecnici Festival Verdi è partner di Festival Verdi ha ottenuto il I due Foscari Tragedia lirica in tre atti su libretto di Francesco Maria Piave, da Byron Musica di GIUSEPPE VERDI L’opera in breve Scelto come soggetto per l’opera da rappresentare al Teatro Argentina di Roma nell’inverno 1844, sulla base del contratto con l’impresario Alessandro Lanari del 29 febbraio di quell’anno, il poema The two Foscari di George Gordon Byron (1821) ben si prestava agli occhi di Verdi per proseguire lungo quel percorso drammatico incentrato sui conflitti personali e intrapreso con Ernani a Venezia, che gli aveva permesso di dissociarsi dall’etichetta del dramma corale a cui l’aveva legato la popolarità di Nabucco e Lombardi.
    [Show full text]